Columbia University: Graduate School of Architecture, Planning & Preservation Drawing and Representation II Coordinators: Babak Bryan &

Michael Young Instructors: Kutan Ayata, Frank Gesualdi, Jennifer Leung, John Morrison, Bryan Young

Spring 2012

TAs: Kyle Hovenkotter, Emily E. Jones, Dan Taeyoung Lee, Bo Liu, Eliza Montgomery, Owen Nichols, Luis Felipe Paris

Course Objectives From the Renaissance through the 20th century, the discipline of architecture sought to define the act of design as the central problem in architecture, design often seen as equivalent to the act of drawing. It was on the plane of the paper page that geometry and mathematics could be combined with artistic techniques of representation. The project was a projection, both literally and metaphorically; drawings opened the possibility of an experience of threedimensional depth through the two-dimensional page as well as regulating the measured translations required by construction. The architectural drawing was a social, political, and aesthetic act that differentiated the practice of architecture from related building crafts while enmeshing it within the humanist culture of the Renaissance. The architectural drawing has undergone several revolutions since this period, the modernization of the medium (ink/graphite/light) and its support (paper/vellum/pixel), the codification of descriptive geometry in the early 19th century, the incorporation of axonometrics in the early part of the 20th century, expanded diagrammatic notations through the second half of the 20th century and most recently the computational and representational possibilities offered by digital drawing. All of these developments may be seen as part of a continuum bringing us to our current situation, but this would require a skewed view of the impact of digital techniques.

The changes that digital techniques are presenting to our drawing traditions can be viewed in several ways. At the extremes, they can be condemned for a breach with former methods, or they can be exalted as new, exciting and powerful. To avoid both of these generalizations, this course seeks to reconsider, investigate and experiment with the possible connections that exist in representational technologies. The course is divided into two projects each with a specific emphasis on an aspect of drawing that is undergoing radical change in light of digital mediation. Each project seeks to understand these changes in representation and hopefully provide a new ground from which to experiment with alternate possibilities for the architectural drawing. Project 1 will extend from the digital model that each student produced in ADR1. Taken this model as a given, or a found object, the digital model will be mined to see what can be extracted. The specific questions that will be asked concern the nature of how representations are used to make conceptual arguments and provoke aesthetic responses. Project 2 will work in the opposite direction. Beginning with a film clip involving spatial motion, each student will explore the potentials of digital representation to articulate filmic motion, depth, light and atmosphere in a static drawn representation. Both projects are tied together by similar questions regarding the transition to digital mediation. The Modeled Drawing or the Drawn Model One of the grounding necessities of orthographic projection is the flat plane for the act of measurement. In order to organize and regulate the true proportions of a building design, the measurements on the plane were made to coincide with the projected construction of the buildings representation on that plane. In other words, the twodimensional drawing was required to regulate the three-dimensional construction. Every entity that is generated in a digital model is measured automatically as it is drawn. This measurement happens through vectors in a three-dimensional space. This affects the generation, interaction, and output of the drawing. Plans and Sections often occur after the model as opposed to before, thus changing their status in the design process. Furthermore, in relation to construction it is now possible to move from model to fabrication without the intermediary of the traditional drawing. In a digital model, the plane of projection is no longer necessarily coplanar with the act of measurement. The Abstraction of Scale - Zoom Manual drawing requires a controlled reduction in scale. Furthermore, drawings are done at multiple scales in order to resolve a buildings articulation from site to detail. As scale shifts, the creation and interpretation of line varies as well. This gives the hand drawing a level of abstraction that delays the determination of the object of design as questions of signification and scale are initially unstable. Digital modeling happens at full scale. Each line refers to a surface of an object. Specific detail is put into every element as the digital model becomes a simulation of the real building. The danger is that this leads the digital model to quickly become identified as an object, and the rendering to desire only photorealism. The abstractions of various scales are now transferred in a digital realm to the abstractions of pixel, zoom, resolution and polygon count. The Articulation of Iteration - Movement and Depth The movement of a physical material such as graphite on paper leaves a residue on the support medium. These traces can provide both an index of the iterations of design drawing and can also become the representational techniques of shade and shadow that suggest depth in the flat plane. The entities in a digital model are parametrically represented simulations. As an element is transformed, its former existence is erased from graphic visualization on the monitor. Even at the level of construction, the procedures, the control polygons that build the line, are never given graphic presence. In a digital model, the removal of the material index shifts toward simulations along the domain of a parametric representation, which in its full expansion becomes animation. As has been hinted at, each of the transitions has pragmatic, conceptual and aesthetic issues at stake. The assumption is not that the change is negative or positive, but that it is naive to believe it is neutral. The goals of the course are to begin to understand these transitions in order to determine the nature of the change, and to aggressively experiment with the potentials to push digital representations toward novel potentials.

Course Work This course seeks to investigate the possibilities of drawing within contemporary architectural representation. Building on the skills that have been gained through previous studies, this class operates as a laboratory for the exploration of the conceptual and aesthetic potentials in architectural representation. In order to facilitate these desires, the course operates through the weekly pin-up critique. This format allows each student the opportunity to clarify the intent of a representation through verbal presentation, and the response of the class toward the productive affects of the drawing as artifact. The course requires you to produce a minimum of a single drawing every week. The drawings will vary from digital to manual techniques, requiring instruments and drawing boards to be developed by each student. There will be a pin-up review of your drawing every week in your individual sections. Each class session will begin with your individual sections, there will be class wide required lectures through the semester at noon, see schedule. Every drawing produced will be 24 x 24 inches. No exceptions. These drawings are to be kept flat in a portfolio by the student to be turned in for evaluation at the end of the semester. Attendance to all lectures and pin-ups is mandatory. The final portfolio will be submitted at the end of the semester containing the original drawings of the semester. In addition, a CD will be submitted containing the files for all digital drawing work. Reader The collection of essays in an online reader provides a supplement to the projects and lectures; it is a sourcebook and set of extended footnotes for the course. It can be found in the Class Folder section of Coursework

Schedule of Topics Drawing Project 1 The Hybrid Drawing 01.17.12 Project 1 01.24.12 Project 1 01.31.12 Project 1 02.07.12 Project 1 02.14.12 Project 1 02.21.12 Project 1 Projection, Section & Descriptive Geometry M. Young Individual Sections - Project 1 Introduction Perspective & the Axonometric B. Bryan Pin up Interrelated Cuts Diagrams & Notations - B. Bryan Pin up Scale Shifts No Lecture Pin up Motion, Depth and Narrative No Lecture Pin up Hybrid Drawing No Lecture Review Hybrid Drawing

Drawing Project 2 The Movement of Depth 02.28.12 Project 2 03.06.12 03.13.12 Project 2 03.20.12 Project 2 03.27.12 Project 2 04.03.12 Project 2 04.10.12 Project 2 04.17.12 Project 2 04.24.12 05.01.12 Project 2 Three Translations in Digital Mediation M. Young Individual Sections Project 2 Introduction No Class Spring Break NURBS, Vectors, and the Gradient Field M. Young Pin up Camouflage & Fractals - B. Bryan Pin Up Guest Lecture Pin Up Guest Lecture Pin up Guest Lecture Pin up No Lecture Pin up No Class Studio Finals No Lecture Review

Readings:
Ackerman, James S. The Conventions and Rhetoric of Architectural Drawing in Conventions of Architectural Drawing: Representation and Misrepresentation. Harvard University Press, 2000, pp. 9-36. Allen, Stanley Constructing with Lines: On Projection in Practice: architecture, technique and representation, G+B Arts, 2000, pp. 1-29. Allen, Stanley. Diagrams Matter in Any 1998, New York: Anyone Corporation, pp. 14-17 Bois, Yve-Alain, Metamorphosis of Axonometry in Daidalos (Sept. 1981): pp. 41-58 Booker, P.J. Constructional Drawings: Sun-Dialling and Stone-Cutting, Ships and Forts: Water-lines and Figured Plans, Plans and Multi-view Drawings in A History of Engineering Drawing. London: Chatto & Windus, 1963, pp. 37-78. Cache, Bernard Geometries of Phantasma in Fast-Wood: A Brouillon Project, Wien: SpringerVerlag, 2007, pp. 46-61. Carpo, Mario Albertis Media Lab in Perspective, Projections & Design ed. By Mario Carpo & Frederique Lemerle, New York: Routledge, 2008, pp. 47-64. Cohen, Preston Scott. Stereotomic Permutations in Contested Symmetries and Other Predicaments in Architecture, New York: Princeton Architectural Press, 2001 pp. 96-103. Crary, Jonathan Modernity and the Problem of the Observer in Techniques of the Observer, Cambridge: MIT Press, 1992, pp. 1-25. Crary, Jonathan Visionary Abstraction in Techniques of the Observer, Cambridge: MIT Press, 1992, pp. 137-150. Deleuze, Gilles. Frame and Shot, Framing and Cutting in Cinema 1, trans. By Tomlinson & Habberjam, Minneapolis: University of Minnesota Press, 1986, pp. 12-28. Deleuze, Gilles Painting and Sensation & Painting Forces in Francis Bacon: The Logic of Sensation. Minneapolis: University of Minnesota Press, 2003, pp.31-38 & pp.48-54. Douard, John E.J. Mareys Visual Rhetoric and the Graphic Decomposition of the Body in Studies in History and Philosophy of Science, June 1995, Vol. 26 No.2, pp. 175-204. Elkins, James Painting in Six Stories from the End of Representation. Stanford:Stanford University Press, 2008, p.21-50 Evans, Robin Architectural Projection in Architecture and Its Image, edited by Eve Blau and Edward Kaufman, Montreal: Canadian Centre for Architecture, 1989, pp. 134-139. Evans, Robin The Developed Surface: An Enquiry into the Brief Life of an Eighteenth-Century Drawing Technique in Translations from Drawing to Building and Other Essays. Architectural Association Publications, 1997, pp. 195-232. Evans, Robin. Drawn Stone in The Projective Cast. Cambridge: MIT Press, 1995, pp. 179-239. Eisenman, Peter Visions Unfolding: Architecture in the Age of Electronic Media in Written into the Void, New Haven: Yale University Press, 2007. pp. 34-41 Field, J.V. Beyond the Ancients in The Invention of Infinity, New York: Oxford University Press, 1997, pp. 178-206. Gill, Robert W. Basic Perspective, London: Thames and Hudson, 1974 Goodman, Nelson. Score, Sketch, and Script in Languages of Art, Indianapolis: Bobbs-Merril, 1968, pp.176-221 Grosz, Elizabeth. Chaos, Cosmos, Territory, Architecture in Chaos, Territory, Art, New York: Columbia University Press, 2008, pp.1-24 Guillerme, Jacques & Helene Verin The Archaeology of the Section in Perspecta 25 (1989), pp. 226-257. Hight, Christopher Epistemologies of Measure, Order, and Differentiation in Modern Architecture

Hildebrand, Adolf von The Problem of Form in the Fine Arts in Empathy, Form, & Space, Getty Research Institute, 1994, p. 228. Hood, George J. Auxiliary Views in Geometry of Engineering Drawing, New York: McGraw-Hill, 1958, pp. 26-49. Kittler, Friedrich Perspective and the Book in Grey Room 5, Cambridge: MIT Press, 2001, pp. 39-54. Kraus, Rosalind. Sculpture in the Expanded Field in October, Vol. 8, MIT Press, 1979, pp. 30-44. Kwinter, Sanford Landscapes of Change: Boccionis Stati danimo as a General Theory of Models. in Assemblage (Dec. 1992): pp.50-65. Latour, Bruno Visualization & Cognition: Drawing Things Together from www.bruno.latour.fr Lefevre, Wolfgang The Emergence of Combined Orthographic Projection in Picturing Machines: 1400-1700, Cambridge: MIT Press, 2004, pp. 209-244. Lotz, Wolfgang. The Rendering of the Interior in Studies in Italian Renaissance Architecture, Cambridge: MIT Press, 1977, pp. 1-65. Lynch, Kevin Some References to Orientation in The Image of the City. MIT Press, 1960, pp. 123-139. Panofsky, Erwin. Section I in Perspective as Symbolic Form. New York: Zone Books, 1997, pp. 27-37. Reichlin, Bruno. Reflection- Interrelations Between Concept, Representation and Built Architecture. Daidalos, 1983. pp. 6073. Ruy, David Lessons From Molecular Gastronomy in LOG 17 (Fall 2009). New York: Anyone Corporation pp.27-40 Scolari, Massimo Elements for a History of Axonometry in AD: The School of Venice. London: AD Editions Ltd. 1985, pp. 73-78. Terzidis, Kostas Caricature Form & Kinetic Form in Expressive Form, New York: Spon Press 2003, pp.9-22 & pp.33-44 Uddin,M. Saleh Introduction in Axonometric and oblique drawing. a 3-D construction, rendering and design guide. , McGrawHill, 1997, pp. 2-19. Virilio, Paul Cinema Isnt I See, Its I Fly. in War and Cinema, New York: Verso, 1989, pp.11-31. Wigley, Mark Paper Scissors Blur in The Activist Drawing, ed. by Mark Wigley and Catherine de Zegher, New York: The Drawing Center, 2001, pp.27-56.